Antikvariat

KIERKEGAARD, SØREN.

Tre opbyggelige Taler af S. Kierkegaard. - [ONE OF TWO KNOWN PRESENTATION-COPIES - THE ONE FOR HEIBERG]

Herman H. J. Lynge & Søn A/S
lyn62269
Kjøbenhavn, Philipsen, 1843. 8vo. 62 pp. Original gift-binding of the black glitted paper with single gilt lines to spine and all edges gilt. A bit of wear to extremities with tiny loss of paper to front hinge. Minor loss to upper capital. Top of front board restored and with neat restoration to upper part of spine and lower capital. Occasional light brownspotting.With the book-plate of Karl Madsen to inside of front board.

One of two known presentation-copies of the important Three Upbuilding Discourses from 1843, the religious companien to Fear and Trembling from the same year, inscribed by Kierkegaard to Heiberg, on front free end-paper: "Til / Hr. Professor J.L. Heiberg / R af D. / ærbødigst / fra / Forfatteren. (i.e. For / Mr. Professor / J. L. Heiberg / R af D (i.e. Ridder (Knight) of Dannebrog) / most respectfully / from the Author). Kierkagaard's Upbuilding (or Edifying) Discourses were published over the course of two years, in 1843 and 1844. In all, 18 Upbuilding Discourses were published, divided over six publications, namely: Two Upbuilding Discourses from 1843, Three Upbuilding Discourses from 1843, Four Upbuilding Discourses from 1843, Two Upbuilding Discourses from 1844, Three Upbuilding Discourses from 1844, Four Upbuilding Discourses from 1844. Each of these publications accompanied one of the main pseudonymous works, beginning with Either-Or in 1843. As opposed to his major philosophical works, the religious upbuilding discourses actually bear the name of the author on the title-page. Of course, this was by no means incidental. While the pseudonymous works could raise the question of the religiousness of the author, the parallelly written religious discourses stress the fact that we are dealing with an author, who was religious from the very beginning – an essential fact that Kierkegaard wished to stress for those interested in his authorship. In his journals, Kierkegaard clearly states that the religious discourses are as significant in his oeuvre as a whole as are the larger pseudonymous works, "I began with "Either-Or" and two upbuilding discourses..." he says, and explains that he intended the upbuilding, the religious, to advance, and that he wanted to show "that the writer was not an aesthetic author who in the course of time grew older and for that reason became religious". (Journals, IX A 227). He was religious all along, also during all of the major philosophical publications that were not written in his name. The fact that every major pseudonymous work – up until Concluding Unscientific Postscript appeared and revealed the identity of the real author – was accompanied by one of these small Upbuilding Discourses, bears testament to the pivotal role they play in Kierkegaard's philosophical development. Furthermore, while Kierkegaard could not present anyone with copies of his pseudonymous works (as his name did not appear as the author on the title-page), he could indeed give away presentation-copies of his accompanying Upbuilding Discourses, which he then did. Most of these presentation-copies are in the typical black glitted paper bindings with single gilt lines to spines. Some, however, are in the original printed boards. The trade copies appeared in original wrappers, some of them blank, some of them printed, repeating the printing from the title-page within a printed frame. In May 1845, the publisher Philipsen buys the remainder issues of all six Discourse-publications, has a joint title-page printed along with a contents-leaf and now issues all six Discourse-publications together under the title Eighteen Upbuilding Discourses. The idea of the Eighteen Upbuilding Discourses. He had agreed to it, but it was not his intended project with the Upbuilding Discourses. Therefore, he wished for the book not to be reviewed, and he naturally did not give away any copies of the Eighteen Upbuilding Discourses, only the individual publications. In all, seven presentation-copies of the different Upbuilding Discourses are registered, all being for either Heiberg or Nielsen. Johan Ludvig Heiberg (1791-1860) was a Danish poet, playwright, literary critic, literary historian, philosopher, and quite simply the main cultural figure of 19th century Denmark. Heiberg profoundly influenced all of Danish culture within this period and must be considered the patron of Copenhagen's literati. He was very influential as a thinker in general, and he changed Danish philosophy seminally by introducing Hegel to the Northern countries. Needless to say, Heiberg also played a significant role in relation to Kierkegaard, who will comment on and refer to him continually throughout his career. As the unofficial arbiter of taste for the Danish intellectuals, Heiberg was also an inevitable recipient of Kierkegaard's works as they were published. "There can be no doubt that Johan Ludvig Heiberg was a very important figure for the development of Kierkegaard's thought. Heiberg's criticism dominated an entire generation of literary scholarship and was profoundly influential on the young Kierkegaard. His dramatic works and translations are also frequently referred to and quoted by Kierkegaard and his pseudonyms… However, Heiberg was also a philosopher… His philosophical profile is clearly that of a Hegelian, and, not least of all due to Kierkegaard's influence, this has led him to being unfairly dismissed…" (Jon Stewart in: Kierkegaard and his Danish Contemporaries I: p. (35)). Heiberg was there from the very beginning of Kierkegaard's authorship, and although the two had both diverging personalities, diverging opinions, and diverging philosophies, Kierkegaard will have had respect for his place in society. Kierkegaard viewed himself as somewhat of an outsider, and it was of great importance to him to try and enter the famous literary and cultural circle of Heiberg. Heiberg is known for founding his own school of criticism and for his brilliant polemics against literary giants of the period. He was without comparison the most dominant literary critic of the period, and he reformed Danish theatre, introducing eg. French vaudeville to the Danish stage. Although through foreign influence, he ended up creating for the first time an actual national theatre in Denmark. "Heiberg's success in so many different fields during such a rich period is truly remarkable." (Jon Stewart). Furthermore, he profoundly influenced Danish philosophy and was pioneering in introducing Hegelian philosophy to the country. Himmelstrup: 57.
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Pigesind. - [PRESENTATION-COPY OF DITLEVSEN'S…
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DITLEVSEN, TOVE.
Pigesind. - [PRESENTATION-COPY OF DITLEVSEN'S DEBUT PUBLICATION TO HER LAST PARTNER]
Herman H. J. Lynge & Søn A/S
lyn62804
København, Rasmus Naver, 1939. Uncut in the original printed wrappers illustrated by Arne Ungermann. With Ditlevsen's presentation inscription to her husband Knud Mogensen to front free end paper: "Tove Ditlevsen / Til min kære Knud / fra din mærkelige Tove, / som holder af dig pa sin egen snørklede måde / 29-11-72 (Pas på den ikke bliver stjålet)" (i.e. English: Tove Ditlevsen / To my dear Knud / from your strange Tove, / who loves you in her own crooked way / 29-11-72 (Be careful it doesn’t get stolen)"). Light wear and a few stains to wrappers. Spine with a bit of loss of paper and upper front hinge split. Internally very nice and clean. 63 pp. The rare first edition, here inscribed by Ditlevsen more than thirty years later to her last companion, Knud Mogensen, of Ditlevsen’s seminal debut publication. Allegedly, she only gave away ten presentation copies of her debut publication, making them of the utmost scarcity. The personal and slightly ironic tone of the inscription reflects the complex relationship between Ditlevsen and Mogensen whom she met through a personal ad after her divorce from Victor Andreasen. In a letter to her publisher’s Ditlevsen wrote: “Jeg kan jo ikke være alene, og nu er han der nu engang. Sød og hjælpsom er han, men sådan virkelig tale med ham, kan jeg ikke.” (Ditlevesen’s collection of letters “Kærlig Hilsen, Tove”, p. 87). (i.e. English: “I cannot be alone and now he is here. He is sweet and helpful, but truly converse with him I cannot.”). The two lived together during the final years of her life, a period marked by both tenderness and turmoil, and which found literary expression in her Letters to Knud Mogensen (10 breve til Knud Mogensen, posthumously published 1978). Ditlevsen’s not so loving “Jeg kan jo ikke være alene, og nu er han der nu engang. Sød og hjælpsom er han, men sådan virkelig tale med ham, kan jeg ikke.” (“I cannot be alone and now he is here. He is sweet and helpful, but truly to converse with him I cannot.”) (Ditlevesen’s collection of letter “Kærlig Hilsen, Tove”, p. 87) “Pigesind” consists in 32 poems that range widely from the broodingly sad, over deeply unhappy to the almost cheerful. They represent the mind of a young girl and what goes on in it, a young girl whose life was to be marked by anxiety, drug addiction, and repeated suicide attempts. Ditlevsen is considered one of the most important and unique voices in twentieth-century Danish literature and many of the themes she touches upon ring a universal bell. Her works are particularly valuable as they dramatize the consequences of locking women into marriage, into the roles of wife and mother. Ditlevsen's writing has had a lasting impact upon Danish literature, and her works continue to be read and studied for their candid and emotional exploration of the human condition. Her life and writing remain highly important subject matters for those interested in Scandinavian literature and the confessional literary tradition. In 2021, The New York Times, The New Yorker, and The Guardian elected Tove Ditlevesen's recently translated "The Copenhagen Trilogy” as book of the year and celebrated Ditlevsen as one of the most important authors in 20th century literature.
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Tre opbyggelige Taler af S. Kierkegaard. - [ONE…
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KIERKEGAARD, SØREN.
Tre opbyggelige Taler af S. Kierkegaard. - [ONE OF TWO KNOWN PRESENTATION-COPIES - THE ONE FOR HEIBERG]
Herman H. J. Lynge & Søn A/S
lyn62269
Kjøbenhavn, Philipsen, 1843. 8vo. 62 pp. Original gift-binding of the black glitted paper with single gilt lines to spine and all edges gilt. A bit of wear to extremities with tiny loss of paper to front hinge. Minor loss to upper capital. Top of front board restored and with neat restoration to upper part of spine and lower capital. Occasional light brownspotting.With the book-plate of Karl Madsen to inside of front board. One of two known presentation-copies of the important Three Upbuilding Discourses from 1843, the religious companien to Fear and Trembling from the same year, inscribed by Kierkegaard to Heiberg, on front free end-paper: "Til / Hr. Professor J.L. Heiberg / R af D. / ærbødigst / fra / Forfatteren. (i.e. For / Mr. Professor / J. L. Heiberg / R af D (i.e. Ridder (Knight) of Dannebrog) / most respectfully / from the Author). Kierkagaard's Upbuilding (or Edifying) Discourses were published over the course of two years, in 1843 and 1844. In all, 18 Upbuilding Discourses were published, divided over six publications, namely: Two Upbuilding Discourses from 1843, Three Upbuilding Discourses from 1843, Four Upbuilding Discourses from 1843, Two Upbuilding Discourses from 1844, Three Upbuilding Discourses from 1844, Four Upbuilding Discourses from 1844. Each of these publications accompanied one of the main pseudonymous works, beginning with Either-Or in 1843. As opposed to his major philosophical works, the religious upbuilding discourses actually bear the name of the author on the title-page. Of course, this was by no means incidental. While the pseudonymous works could raise the question of the religiousness of the author, the parallelly written religious discourses stress the fact that we are dealing with an author, who was religious from the very beginning – an essential fact that Kierkegaard wished to stress for those interested in his authorship. In his journals, Kierkegaard clearly states that the religious discourses are as significant in his oeuvre as a whole as are the larger pseudonymous works, "I began with "Either-Or" and two upbuilding discourses..." he says, and explains that he intended the upbuilding, the religious, to advance, and that he wanted to show "that the writer was not an aesthetic author who in the course of time grew older and for that reason became religious". (Journals, IX A 227). He was religious all along, also during all of the major philosophical publications that were not written in his name. The fact that every major pseudonymous work – up until Concluding Unscientific Postscript appeared and revealed the identity of the real author – was accompanied by one of these small Upbuilding Discourses, bears testament to the pivotal role they play in Kierkegaard's philosophical development. Furthermore, while Kierkegaard could not present anyone with copies of his pseudonymous works (as his name did not appear as the author on the title-page), he could indeed give away presentation-copies of his accompanying Upbuilding Discourses, which he then did. Most of these presentation-copies are in the typical black glitted paper bindings with single gilt lines to spines. Some, however, are in the original printed boards. The trade copies appeared in original wrappers, some of them blank, some of them printed, repeating the printing from the title-page within a printed frame. In May 1845, the publisher Philipsen buys the remainder issues of all six Discourse-publications, has a joint title-page printed along with a contents-leaf and now issues all six Discourse-publications together under the title Eighteen Upbuilding Discourses. The idea of the Eighteen Upbuilding Discourses. He had agreed to it, but it was not his intended project with the Upbuilding Discourses. Therefore, he wished for the book not to be reviewed, and he naturally did not give away any copies of the Eighteen Upbuilding Discourses, only the individual publications. In all, seven presentation-copies of the different Upbuilding Discourses are registered, all being for either Heiberg or Nielsen. Johan Ludvig Heiberg (1791-1860) was a Danish poet, playwright, literary critic, literary historian, philosopher, and quite simply the main cultural figure of 19th century Denmark. Heiberg profoundly influenced all of Danish culture within this period and must be considered the patron of Copenhagen's literati. He was very influential as a thinker in general, and he changed Danish philosophy seminally by introducing Hegel to the Northern countries. Needless to say, Heiberg also played a significant role in relation to Kierkegaard, who will comment on and refer to him continually throughout his career. As the unofficial arbiter of taste for the Danish intellectuals, Heiberg was also an inevitable recipient of Kierkegaard's works as they were published. "There can be no doubt that Johan Ludvig Heiberg was a very important figure for the development of Kierkegaard's thought. Heiberg's criticism dominated an entire generation of literary scholarship and was profoundly influential on the young Kierkegaard. His dramatic works and translations are also frequently referred to and quoted by Kierkegaard and his pseudonyms… However, Heiberg was also a philosopher… His philosophical profile is clearly that of a Hegelian, and, not least of all due to Kierkegaard's influence, this has led him to being unfairly dismissed…" (Jon Stewart in: Kierkegaard and his Danish Contemporaries I: p. (35)). Heiberg was there from the very beginning of Kierkegaard's authorship, and although the two had both diverging personalities, diverging opinions, and diverging philosophies, Kierkegaard will have had respect for his place in society. Kierkegaard viewed himself as somewhat of an outsider, and it was of great importance to him to try and enter the famous literary and cultural circle of Heiberg. Heiberg is known for founding his own school of criticism and for his brilliant polemics against literary giants of the period. He was without comparison the most dominant literary critic of the period, and he reformed Danish theatre, introducing eg. French vaudeville to the Danish stage. Although through foreign influence, he ended up creating for the first time an actual national theatre in Denmark. "Heiberg's success in so many different fields during such a rich period is truly remarkable." (Jon Stewart). Furthermore, he profoundly influenced Danish philosophy and was pioneering in introducing Hegelian philosophy to the country. Himmelstrup: 57.
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Die Leiden des jungen Werthers. Zweynte ächte…
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GOETHE, JOHANN WOLFGANG von.
Die Leiden des jungen Werthers. Zweynte ächte Auflage. 2 parts. - [THE MAIN WORK OF THE STURM UND DRANG-ERA. - THE WORLD'S FIRST CULT BOOK]
Herman H. J. Lynge & Søn A/S
lyn62794
Strassburg & Hanau, 1775. 8vo. Two parts both in the original blank boards. A number a previous owner's name in near contemporary hand to verso of front boards. Boards with a few stains and internally with light occassional brownspotting, but overall a good unsophisticated copy. 95 pp.; pp. 97-192. Very scarce early edition (D2a) of Goethe's monumental novel-debut, which immediately became a major success and one of the most influential and popular books of the 18th century. The novel caused Goethe almost overnight fame. The style of writing has influenced an entire generation of writers. No other of Goethe's works has been so widely read by his contemporaries, and no other work in general has been of as great importance to the Sturm und Drang-period; the work also caused the so-called "Lesesucht" (the important and wide-ranging debate in late 18th century on misreading and on dangerous and harmful literature). The impact it had on not only literature, but on almost all aspects of life at the time, was immense and unheard of. Werther might well be the first cult-figure ever; -a true "Werther-Fieber" broke loose, resulting in a distinct Werther-fashion (yellow trousers, yellow waist-coat, blue coat, high turned-down boots, round felt hat and un-powdered hair, as described by Goethe in the novel), Werther-perfume, Werther-cups etc. Numerous people susceptible to influence actually killed themselves in sympathy with the suffering Werther or overwhelmed by the gulf that separates the outer from the inner world suggested in the novel (the first copycat-suicides of the world, -many of the bodies were found with the book in their hands), and the work incited the romantic urge for revolution; the work is also said to have been Napoleon's favourite novel, which he carried with him at all times. Goethe himself was very surprised by the impact of the work, and said about it: "Die Wirkung dieses Büchleins war groß, ja ungeheuer, und vorzüglich deshalb, weil es genau in die rechte Zeit traf." (Dichtung und Wahrheit). This literary masterpiece may be called the first German novel of world literary class, and it not only seems like a modern work of fiction, it is a work which has irreversibly shaped the feeling of life which is specific to modern man. Hagen 89 (D2a).
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Essai sur la Nature du Commerce en général.…
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(CANTILLON, RICHARD).
Essai sur la Nature du Commerce en général. Traduit de l'anglois. - [THE FOUNDATION OF ECONOMIC THEORY]
Herman H. J. Lynge & Søn A/S
lyn62796
A Londres, Chez Fletcher Gyles, dans Holborn, 1755. 12mo (17x10 cm). Bound in a nice, contemporary full mottled calf binding with five raised bands to richly gilt spine. All edges of boards with a single gilt line-decoration. Beautiful marbled edges. Very neat and professional restorations to hinges and upper capital. A single tiny worm-hole to middle of spine and a supeficial, barely noticeable, crack down the middle. Old paper-label to lower compartment of spine. One corner a bit worn. Small ex libris to inside of front board, ex libris stamp to half-title. Contemporary owner's name crossed out at title-page. Internally exceptionally nice and clean. Small worm-hole to inner margin of about 60 leaves towards the end, only just touching the edge of a very few letters, otherwise not affecting lettering at all. (4), 430, (6, -Table des Chapitres) pp. First edition of one of the most important works in the history of economic thought. Cantillon’s work is a pioneering attempt to describe the economy as an interdependent system governed by underlying laws of cause and effect. The author is considered a pioneer of economic theory who anticipated and influenced the likes of Smith, Malthus, Turgot, Quesnay, Mirabeau, etc., etc. and this, his only published work, is considered the first actual work of theoretical economics, an absolutely ground-breaking work which by Jevons was characterized as the "Cradle of Political Economy". Cantillon introduces the concept of the entrepreneur as a central economic agent, provides the first analytical model of the circular flow of income and articulates what later became known as the “Cantillon Effect” - the uneven impact of monetary expansion on prices and wealth distribution. Richard Cantillon (1680-1734), though his name is probably of Spanish descent, was an Irishman, and he spent most of his life in France. He was a man of secrecy, and little is known about his life and work. He wrote his only published book, the seminal "Essai sur la Nature du Commerce en Général" between 1730 and 1734 but never saw it published, as he was murdered in 1734 (when he was robbed and his house was set on fire, presumably by his former cook whom he had dismissed ten days earlier), and the book had to await posthumous publication. There is evidence that Cantillon wrote much more than this single work, but the "Essai" seems to be the only one that survived the fire in his house on the night of his death. The work was finally published for the first time in French, anonymously, in 1755, and it is not known whether Cantillon actually wrote the manuscript in French and that the mention of translation on the title-page is false (e.g. to avoid French censorship), or whether he wrote the manuscript in English and translated it into French himself; in all cases, the work circulated in French manuscript form, before it was published, and an English manuscript has never been found. "In any case, the "Essai" is a work of genious, and it was undoubtedly written by Cantillon" (Brewer, p. 19). After having had an immense influence on the Physiocrats and the French School, directly influencing Anne-Robert-Jacques Turgot , François Quesnay, Jean-Baptiste Say, Victor de Riquetti marquis de Mirabeau, Adam Smith, etc., the "Essay…" soon sank into obscurity only to be rediscovered by Jevons in the 1880'ies, and throughout the late 19th and the 20th century it has become increasingly evident that the present work is indeed a pioneering work, which directly and indirectly influenced almost all later economic theory. "Richard Cantillon was a key figure in the early development of economics. He was one of the first to see economy as a single inter-connected system and to try to explain how it worked, and the first to present a coherent theory of prices and income distribution. He made major contributions to monetary theory and to the theory of balance of payments adjustment. The Physiocrats, writing only a few years after the (delayed) publication of Cantillon's one surviving work, the "Essai sur la nature du commerce en general", took many of their ideas very directly from it. Adam Smith probably learnt from Cantillon's "Essai" , as well as from the Physiocrats. There is thus a direct line of intellectual descent from Cantillon's "Essai" to Smith's "Inquiry into the Nature and Causes of the Wealth of Nations", and to modern economics." (Brewer, p. 1). "Cantillon predated the Physiocrats in two ways. First, he used the term "entrepreneur" and emphasized the role of this figure in economic life. Business people, Cantillon said commit themselves to definite payments in expectation of uncertain receipts; this risk taking is remunerated by profit, which competition tends to reduce to the normal value of the entrepreneurs' services. Second, writing a generation before Quesnay constructed his "Tableau Economique", Cantillon stated: "Cash is therefore necessary, not only for the Rent of the landlord... but also for the City merchandise consumed in the country... The circulation of this money takes place when the Landlords spend in detail in the City the rents which the farmers have paid them in lump sums, and when the Entrepreneurs of the Cities, Butchers, Bakers, Brewers, etc. collect little by little the same money to buy from the Farmers in lump sums Cattle, Wheat, Barley, etc." Cantillon developed a theory of value and price. His emphasis on the role of land and labor, on supply and demand, and on the fluctuations of price around intrinsic value makes him a direct forerunner of classical economists... Cantillon anticipated classical economic thought in several other ways. For example, he stated, "Men multiply like mice in a barn if they have unlimited Means of Subsistence." The classical economist Thomas Malthus held a similar view. Also, Cantillon analyzed interest as a reward for the risk taken in lending, based on profits that the entrepreneurs can make by borrowing and investing... In addition, Cantillon focused on the productivity of a nation's resources..." (Brue, pp. 59-60). See: Anthony Brewer, Richard Cantillon: Pioneer of Economic Theory, 1992 Stanley L. Brue, The Evolution of Economic Thought. Sixth Edition, 2000 Kress: 5423.Einaudi 846. Goldsmiths’ 8989 Higgs, Bibliography of Economics, 938.
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Picasso. Toros y Toreros. - [SIGNED BY PICASSO]
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PICASSO, PABLO (+) LUIS MIGUEL DOMINGUIN.
Picasso. Toros y Toreros. - [SIGNED BY PICASSO]
Herman H. J. Lynge & Søn A/S
lyn62803
(Paris, Editions Cercle D'Art, 1961). Folio (380 x 280 mm). In publisher's original pictoral full cloth binding. Number 76 out of 150. Illustrated with 138 lithographic reproductions in black/white and colour after the artist's drawings in pencil, ink, crayon, brush and washPortfolio (375 x 278 mm). A seperate suite, also numbered 76, with 17 loosely inserted (as issued) litographs, the first being signed in pencil by Picasso.Both housed in publisher's original clam-shell box with title and author embossed to spine. Very light wear to edges of the box, but otherwise a very fine, clean, and well preserved copy. First edition, being one of the 150 numbered copies signed by Picasso, of one of the artist’s greatest books of the post-war period, magnificently printed under Picasso’s supervision and dedicated to his lifelong fascination with bullfighting. Luis Miguel Dominguín, legendary bullfighter whose exploits were described by Hemingway in “The Dangerous Summer”, wote the lengthy introduction. A monumental artist’s book, “Toros y Toreros” stands as both an artistic summary of Picasso’s lifelong fascination with the spectacle of the bullfight and a deeply personal reflection of the people and passions that surrounded him in his final decades. The work is based on Picasso’s sketchbooks from 1959, a period of graphic experimentation at Vallauris, and reflects his deep personal engagement with the bullfighting world and its participants. His old companion Manuel Pallares would visit for long tertulia-style conversations in Catalan, while his wife Jacqueline was more interested in the artist’s publisher, Gustav Gili, and his Andalusian friend, the celebrated bullfighter Luis Miguel Dominguin:“Picasso had always enjoyed having Spanish or Spanish-speaking friends around. Manuel Pallarés, a Catalan who had been a friend since he was fourteen, would come and spend two weeks in a nearby hotel. In true tertulia style the two old cronies would gossip for hours in Catalan about the minutiae of life in turn-of-the-century Barcelona or the high sierra. Jacqueline found all this very tedious. She far preferred the company of the artist’s Catalan publisher, Gustav Gili, or his fellow Andalusian the celebrated bullfighter, Luis Miguel Dominguin. Although Picasso loved to discuss bullfighting with Dominguin, he was taken not so much with his professional prowess - “his real arena is the Place Vendôme.” He told Cocteau: “One thinks he’s not like the others, but he’s exactly the same” - as with his personal allure. Picasso had a short man’s envy of people who were tall, and Dominguin was the inspiration for the slender elegant torero in most of the later bullfight scenes. In his lively text Toros y Toreros, Dominguin likens his relationship with Picasso to the great Pedro Romero’s with Goya. He sees Picasso as a bull and quotes the popular Andalusian poet Rafael Alberti’s paean to him: “You the only matador in Picassian pink and gold - with Pablo Ruiz Picasso as the bull! And me as picador.”” (Richardson, A Life of Picasso, p. 8) “The main involvement [in bullfighting] for Picasso was not so much with the parade and the skill of the participants but with the ancient ceremony of the precarious triumph of man over beast … The man, his obedient ally the horse, and the bull were all victims of an inextricable cycle of life and death.’ (Roland Penrose, Beauty and the Monster, p.170.) The present work unites Picasso’s art with his lifelong fascination for the drama, ritua,l and symbolism of the bullfight, uniting his genius as an artist with one of the most strong passions of his Spanish identity.
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DNA. - [SIGNED AND NUMBERED]
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KVIUM, MICHAEL.
DNA. - [SIGNED AND NUMBERED]
Herman H. J. Lynge & Søn A/S
lyn62783
(No place), Nemo, 1987. Large4to (275 x 210 mm). In the original black printed wrappers. Signed "Kvium 1987". Number 77 out of 200. Small mark to lower inner margin of back wrapper, otherwise a very nice and clean copy. (8) pp. + 4 engraving. Rare early signed and numbered exhibition catalogue published on the occasion of Michael Kvium’s exhibition DNA at Galerie Nemo in July 1987, one of the artist’s earliest solo exhibitions in Germany marking the beginning of Kvium’s international recognition. Includes a short biographical note and reproductions of Kvium’s grotesque and surreal imagery characteristic of his 1980s period when he began exploring the human body as a metaphor for moral and existential distortion. Kvium studied at the Royal Danish Academy of Fine Arts in Copenhagen (1979–1985) and is one of the one of the most sought after modern Danish artists.
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1,295.80 €
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